"The common denominator of much ideology is that it seeks to hide or to justify asymmetrical relationships: relationships in which a fitness gain to ego is achieved at some cost to alter. Asymmetrical (or parasitic) relationships can be maintained through deceit coercion or combination of the two. Deceit is endemic in systems of reciprocity. But systems of reciprocity are vulnerable not only to deceit: they are also open to coercion. To the extent that power imbalances exist in a reciprocal interaction, reciprocity can easily be transformed into coercion.
Coercion is not a human monopoly, Male animals use force or threats to displace or eliminate competition, to gain access to females in oestrus, to secure submission of subordinates and so on. Some mammals are even capable of forming small coalitions of two or four males in order to obtain a collective dominance over individual rivals. Some animal societies can be said to have rudimentary "ruling classes." Humans do, however, hold pride of place in their ability to use to good effect conscious, collective, organized, premeditated coercion in order to establish, maintain, and perpetuate systems of intraspecific parasitism.'
'The concept of “race” as used in North America to designate a phenotypically distinct group, was imported into Asia by some scholars who applied it to a situation best described in terms of caste. The Eta or Burakumin of Japan have been described by DeVos and and Wagatsuma as an “invisible” race. Thus the terminological confusion has come full circle. Some phenotypically distinct racial groups have been called “castes” by analogy with the Hindu system. Conversely, some physically indistinguishable caste groups have been called “races” by analogy with North American society.
Where does this semantic imbroglio lead us? It is useful to have a special analytical term applicable to a wide range of societies to designate that particular combination of class and ethnicity. “Race” will not do for that purpose, since only some of these systems are based on phenotypical distinctions. Furthermore, not all societies that do make phenotypical distinctions have the degree of rigidity and racial endogamy that one associates with caste. Examples of such race-conscious but relative flexible social systems are Brazil, most Caribbean islands, Hawaii and others. “Race” has a utility as an analytical concept to designate phenotypically distinguished groups but not as a synonym for “caste.” “Race” can be a special case of caste but also a special case of more flexible social orders.'
The Ethnic Phenomenon Pierre Van Der Berghe 1981 Praeger
Sambo published in 1899 arrived in a time of unabashed ethnicism (racism) in the west. The term Sambo has many iterations, one stems from ethnicism in the U.S. and extends to misnomers regarding even a restaurant chain that incorporated Bannerman's images while its naming stemmed from the combination of the owners' names' syllable hyphenate Sam-bo. Bannerman's book shown above illustrated English colonial sentiment in India prior to its expulsion.
Set in the near and far future, A.I. was to be Kubrick's antithesis to both The Shining and 2001, instead of an odyssey, a fable: on an Earth succumbing to greenhouse ocean encroachment, a boy named David is created mechanically to imitate love on behalf of humans (an indication that humans no longer experience it), he gains greater awareness than his human owners (and creator) of the emotion, is orphaned by expulsion, experiences dire adventures with an opposite (a male robot created to fulfill pleasure instead of love) then escapes all grasp as he comprehends what they do not. His final act is to submerge in the underwater valleys of New York's ruins and patiently await the awakening of a statue of The Blue Fairy (set in the ruins of Luna Park, Coney Island). Thousands of years pass, metaphysically like the stargate infinity or the mute finiteness of Mr. Torrance's frozen still; life becomes extinct on an ice covered earth, the boy's passage is ended when ultra conscious beings, hybrids between robots and living entities, unearth him and allow him a 'day' of consciousness before his data is assimilated. No doubt an adventure Kubrick would have engineered as near satire hovering above calm efficiency, its remains exist inside an oddly sentimental version made by Spielberg. By rendering it for children he collapses the very meaning of the film while keeping its plot largely intact. Was it a test given to him by Kubrick? Thames and Hudson published a coffee table book that showcases how closely Spielberg followed the visuals Kubrick imagined, and incredibly, it proves visuals alone are not the center of any director's craft, we require the tone of interaction. Kubrick was certain David was to be a digital creation as no human could truly imitate a robot.
Could Kubrick have been any more obvious: the mecha discover a scaled-monolith before they find David. The test, how do you get this mega-structure onto a frame 2.33:1?
No doubt interested in more melting Nazis a la Raiders of the Lost Ark, Diller's Paramount regime hired Michael Mann to adapt grand guignol novel The Keep for his second outing following the razor sharp Thief. After his confusing rough cut came in at three hours, Diller ordered belts tightened and scuttled expensive post-effects. The remains are a varied mess that hint at what might have been, the darkest view inside the mysticism of evil.
Below, Lutz's first encounter with the underworld, storyboarded:
Just as in the 60's, our age's media is enmeshed in cycles of heroic films transplanted from our far and near past mythistories. Talk about neo-conservative, the superhero with his/her origins in comics is a retrograde icon. Film studios: taking us backwards one myth at a time.
Thomas Ince invented the first film factory, Inceville, in 1918 on a discarded valley spot where Sunset Blvd. met the Pacific.
The rule for optimal television drama is carefully balancing outer and inner conflicts. Invent decisive inscrutable characters as centerpieces. Solve their outer conflicts - intentional or not, leave the inner ones as unsolveable. Does anyone realize how strange it is to advertise advertising (Mad Men) to this culture? Think about the image above reflexively: the campaign for season three is still only a lure to sell the ads that surround a show about the ads.
Some fellas look at the eyes Some fellas look at the nose Some fellas look at the size Some fellas look at the clothes I don't care if her eyes are red I don't care if her nose is long I don't care if she's under fed I don't care if her clothes are worn First I look at the purse Some fellas like the smiles they wear Some fellas like the legs that's all Some fellas like the style of their hair Want their waist to be small I don't care if their legs are thin I don't care if their teeth are big I don't care if their hair's a wig Why waste time lookin' at the waistline? First I look at the purse A woman can be fat as can be kisses sweet as honey But that don't mean a thing to me If you ain't got no money If the purse is fat... that's where it's at Some fellas like the way they walk The way they swing and sway Some fellas like the way they talk Dig the things they say I don't care if they wobble like a... Or talk with a lisp I still think I'm a good lover If the dollar bills are crisp First I look at the purse First I look at the purse First I look at the purse First I look at the purse I don't care if you got yourself a wrap All I want is your pretty green cash Bought me a suit, bought me a car Want me to look like a Hollywood star First I look at the purse First I look at the purse First I look at the purse First I look at the purse